George Strait – Here For A Good Time
No country for old men? Lol.
[Video][Website]
[6.67]
Alfred Soto: So sure he’ll never approach Garth Brooks’ sales figures, George Strait is nevertheless comfortable as hell; the sheer ubiquity of this man on the country charts (look at his stats) will shock pop audiences who have never rewarded him with a crossover hit as big as Tim McGraw, Toby Keith, or Alan Jackson’s. But while he’s often complacent he’s still a helluva singer – relaxed and crinkly. He’s the sort of guy whose vast catalog offers pleasures for anyone with half an ear inclined already: 1984’s “You’re The Cloud I”m On (When I’m High)” has graced my iPod for months. The positive vibes emanating from “Here For a Good Time” is defiant instead of triumphalist; he sounds like he’s fallen into his cups a few times. Neither here nor there, actually. But rest assured: Strait will be back in a few months and we’ll take him for granted again.
[6]
Brad Shoup: A delightful shuffle that makes good use of George’s lower register. Ever the old pro, he shades each instance of the word “like” in the second verse with a different meaning. The half-cheerful philosophical conclusions are real similar to Billy Currington’s “Love Done Gone”; the what-the-hell tincture in the chorus is truly inspired, as well as remarkable for a guy who hasn’t let loose since 1991.
[9]
Josh Langhoff: Strait’s voice floats toward some Haggardian ideal of swingin’ good times, drowning his pain so thoroughly that pain and floating are inseparable. His epitaph is basically the same as the Temptations’ Papa, but dying destitute and alcoholic has rarely sounded so irresistible.
[8]
Jonathan Bogart: In which George is as comfortable as ever, which means he’s hitting no highs, but the man’s rarely hit even the usual lows. He’s been running a victory lap for over a decade now, but only the most youth-oriented and novelty-hungry chauvinists would begrudge him that.
[6]
Katherine St Asaph: It’s a nothing song, but play this back to back with one of Strait’s countless imitators and just sense the difference in vocal oomph.
[6]
Anthony Easton: Factory production, not awful, but nothing of note.
[5]